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Joe Mitchell, Jack Alexander, Richard O Joseph Mitchell and The New Yorker Nonfiction Writers by Norman Sims From Literary Journalism in the Twentieth Century, edited by Norman Sims (Evanston, Illinois: Northwestern University Press, 2008). (Originally written before The New Yorker moved to its new offices. Also written prior to the publication of Joseph Mitchell’s Up in the Old Hotel, which used some of the text from my interview as Mitchell’s jacket copy.) At The New Yorker, when you get off the elevator you step into an off-white, narrow little prison of a waiting room. The receptionist phones the inner sanctum of the editorial offices, and your host meets you at the door. My host was Joseph Mitchell, who has been with The New Yorker since 1938. Although he was eighty-one-years-old and rumored to be a ghostly presence in the corridors of the magazine, he carried the grace of a much younger man. Mitchell’s last magazine article appeared in 1964. He has regularly gone to his office since then, feeding the speculation that this very private man has been writing some magnificent addition to the books he published between 1938 and 1965.1 Curiosity has been fed by Mitchell’s own last work, Joe Gould’s Secret, and by the appearance of a character similar to him in Jay McInerney’s Bright Lights, Big City. Not surprisingly, given his longevity at the institution, his office is the first one down the hallway. The furnishings—metal desk, cabinets, flooring that dates from the age of linoleum—are standard at The New Yorker. That narrow office was a place I never expected to reach. For years, Mitchell has turned down requests for interviews. Finding out what he has been doing the last twenty-five years was the least of my objectives. There are deeper mysteries in his writing. 1 Joseph Mitchell’s books include My Ears Are Bent (New York: Sheridan House, 1938), a collection of his newspaper work; McSorley’s Wonderful Saloon (New York: Duell, Sloan and Pearce, 1943); Old Mr. Flood (New York: Duell, Sloan and Pearce, 1948); The Bottom of the Harbor (Boston: Little, Brown and Company, 1960); with Edmund Wilson, Apologies to the Iroquois With A Study of the Mohawks in High Steel (New York: Farrar, Straus, 1960), which contains Mitchell’s classic ethnographic study of the Indian ironworkers; and Joe Gould’s Secret (New York: Viking Press, 1965). Many of these works were reprinted in Up in the Old Hotel (1992). Mitchell and several of his colleagues at The New Yorker were responsible for keeping literary journalism alive during the middle years of the twentieth century before the New Journalism burst on the American scene. Mitchell’s nonfiction, and to some extent that of A. J. Liebling, adopted a creative approach and probed further into the borderlands of fiction and nonfiction than did many of the highly publicized experiments of the New Journalism. In the years just before World War II, The New Yorker magazine began nurturing literary journalists. Harold Ross founded The New Yorker in 1925 as a magazine dedicated to humor, criticism, short fiction, and reportage. Its early success owed little to literary journalism, and a great deal to a talented staff. Katharine Angell edited the fiction department while E. B. White, later her husband, in his “Notes and Comment” essays developed a voice that would be called “The New Yorker style.” James Thurber contributed short pieces and humorous drawings that cemented both his reputation and the magazine’s. The genius who created The New Yorker was not necessarily a genius for organization. Ross fumbled repeatedly while looking for a managing editor. In 1933, he finally hired an editor who could make sense of his editorial system, and who would make a difference in the future of literary journalism. William Shawn arrived as a “Talk of the Town” writer and by 1939 was managing editor. After Ross’s death in 1951, Shawn succeeded him as editor and served for thirty-five years. Shawn’s rise to power came at an opportune time. The New Yorker editorial corps had weakened as three of its foundation stones departed. Thurber’s eyesight was failing and he steadily withdrew. Katharine and E. B. White moved to Maine in 1938, temporarily depriving the magazine of their guidance and contributions. The vacuum was gradually filled by new writers who made enduring contributions to literary journalism: John Jersey, John McNulty, Geoffrey Hellman, Joel Sayre, Alva Johnston, St. Clair McKelway, Philip Hamburger, John Lardner, Brendan Gill, Berton Roueché, John Bainbridge, and Lillian Ross. Referring to himself, Joe Mitchell, Jack Alexander, Richard O. Boyer, and Meyer Berger, A. J. Liebling once wrote, “I still think The New Yorker’s reporting before we got on it was pretty shoddy.”2 2 Raymond Sokolov, Wayward Reporter: The Life of A. J Liebling (New York: Harper & Row, 1980), pp. 104-5. Before they came to the magazine, most of the new writers had been newspaper feature reporters. Feature writing could be creative, especially under the editorship of someone like Stanley Walker, city editor of the New York Herald Tribune, but was severely limited in the time spent reporting and the scope of presentation. Moving to The New Yorker gave writers more time to work, more space (in print, if not in their cubbyhole offices), superb editing, greater autonomy, and—at least in the cases of Mitchell and Liebling—opportunities to pursue literary goals. The institutional conditions were ripe for literary journalism. Until the late 1950s, magazine writing had not fully exploited storytelling; one student of the era found little use of scenes, dramatization, or first-person narrative outside of The New Yorker.3 No American magazine had offered the consistent freedom and encouragement found at The New Yorker. The payoff came rapidly from writers such as Mitchell, Liebling, Hersey, Boyer, and Lillian Ross. Mitchell is a bright-eyed, energetic man who puzzles over things and takes pains to get them right. He dresses as he writes, in a stylish, comfortable, yet precise manner. He lacks a striking physical feature and never intrudes abruptly on a conversation. Talking with him is easy. His courtesy may be his most distinctive trait, along with an incredible memory. He grew up in the cotton and tobacco region near Fairmont, North Carolina, where his ancestors had lived since before the Revolutionary War. After four years at the University of North Carolina, he became a reporter for the New York Herald Tribune. He worked at the Herald Tribune and World- Telegram until 1938, except, as he said, “for a period in 1931 when I got sick of the whole business and went to sea.”4 Thereafter, he wrote profiles for The New Yorker of waterfront workers, people on the Bowery, Mohawk Indians who work on high structural steel, and characters from the Fulton Fish Market in the southeast corner of Manhattan near the Brooklyn Bridge. The literary critic Stanley Edgar Hyman put Mitchell in the tradition of William Faulkner, Saul Bellow, and James Joyce. Hyman said Mitchell “is a reporter only in the sense that 3 Paul Bush, “The Use of Fiction Elements in Nonfiction: Proving the Existence of a New Genre,” Master’s degree thesis, Vermont College of Norwich University, 1989, Ch. 3. 4 Mitchell, My Ears Are Bent, p. 11. Defoe is a reporter.”5 Like Defoe in A Journal of the Plague Year, Mitchell wrote articles that are mixtures of fiction and nonfiction. “Mr. Flood,” a ninety-three-year-old retired house-wrecking contractor who lived in a waterfront hotel and pursued his remaining ambition of eating fish every day (and practically nothing else) and thereby living to be 115, was a composite character. “Combined in him are aspects of several old men who work or hang out in Fulton Fish Market, or who did in the past,” Mitchell explained. “I wanted these stories to be truthful rather than factual, but they are solidly based on facts.”6 Two of Mitchell’s books illustrate the advances in literary journalism at The New Yorker from the late 1930s to the 1960s. In The Bottom of the Harbor, Mitchell reprinted magazine pieces written between 1944 and 1959, including “Up in the Old Hotel,” his symbolic cultural portrait of the Fulton Fish Market. This piece illustrates Malcolm Cowley’s remark that “Mitchell…likes to start with an unimportant hero, but he collects all the facts about him, arranges them to give the desired effects, and usually ends by describing the customs of a whole community.”7 The Bottom of the Harbor also contained “The Rivermen” and “Mr. Hunter’s Grave,” examples of Mitchell at his best in searching out the psychological core of a person or the symbolic meaning of a topic. Mitchell’s last book, Joe Gould’s Secret, published in 1965 at the dawn of the New Journalism, represents self-expression in nonfiction that stands somewhere between the realist and modernist styles found among New Journalists. From the time Mitchell began writing about the Fulton Fish Market, he had a vision of a book that might report on the complexities of the characters he found there. He thought of writing about the fish market in the same way Melville wrote about whaling in Moby Dick. “I had an idea for a big book on the fish market,” Mitchell said.8 “I had those reefer trucks coming in from the East Coast, the West Coast, and the Gulf Coast and converging at South Street and Fulton Street early in 5 Stanley Edgar Hyman, “The Art of Joseph Mitchell,” in The Critic’s Credenlials (New York: Atheneum, 1978), p.
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